Word: brecht
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Dates: during 1960-1969
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Lotte Lenya. The name conjures up visions of the Berlin Theatre Ensemble, of the plays of Bertolt Brecht and the music of Kurt Weill...
...lady's new lease on life originated as a fragile short story by Bertolt Brecht, and Writer-Director Rene Allio sketches it on film with the ease and delicacy of an artist who knows the value of priceless old things. Insurance against the occasional pangs of creeping senility is provided by French Stage Star Sylvie, a clear-eyed, quick-stepping, 81-year-old charmer who plays the title role with no pauses for sentimental nonsense. Whether cruising serenely up and down an escalator or boldly offering a well-weathered wrist to a perfume saleslady, Sylvie exudes the quiet...
Moral Breakdowns. As a prologue to Shantung Compound, Gilkey approvingly quotes Brecht's sardonic couplet: "For even saintly folk will act like sinners,/Unless they have their customary dinners." To his surprise, Gilkey discovered that the most devout missionaries were not immune from selfishness. Even ministers began to squabble with their fellow prisoners bout food shares and steal from communal supplies. Forgetting the lesson of the Good Samaritan, missionaries with families bluntly refused to share any portion of their living area with others who needed space. One preacher went so far as to contend that he needed extra room...
...opinion, TIME missed the point about Bertolt Brecht. The U.S. Congress and American journalism regarded him as both stubborn and Marxist. But he wasn't. In his lifelong search for a politico-economic system that would not suppress but enlighten human goodness, he became disenchanted with Marxism, as he had earlier become disenchanted with the capitalism of his day. Brecht's view of mankind was optimistic. His search sprang from a comparison of the goodness of man with the badness of man's economic and political systems. His drama demands that we think about the "existence problem...
...these playwrights are obliquely related to the greatest theatrical influence of the 20th century, though perhaps not its greatest playwright-Bertolt Brecht. Despite his seemingly stubborn Marxism, Brecht is intimately concerned with the existence problem. His plays are drenched in fatality, and to call fate "economic necessity" is to change the name without changing the game. While they do not all belong to the theater of the absurd, these playwrights possess that initial recognition of absurdity that, Camus argues, comes to one in the midst of deadening routines. In the opening scene of John Osborne's Look Back...